


The Times That Try Men's Souls

by oriolegirl



Category: The Avengers (2012)
Genre: Alternate Universe - Orchestra, M/M
Language: English
Status: Completed
Published: 2013-05-30
Updated: 2013-05-30
Packaged: 2017-12-13 11:34:59
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,019
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/823845
Author URL: https://archiveofourown.org/users/oriolegirl/pseuds/oriolegirl
Summary: <blockquote class="userstuff">
              <p>"You do realize that Clint is not your personal cellist, yes?"</p>
            </blockquote>





	The Times That Try Men's Souls

**Author's Note:**

> Much thanks as always to my beta [cyanne](http://cyanne.dreamwidth.org/).

Phil's on his way to the kitchen to start the coffee maker when he gets detoured by a knock on the front door. A glance through the peephole results in a sigh because of course, of course, it's Tony Stark and Phil didn't even bother to put on a bathrobe over his t-shirt and sleep pants. He swings open the door. "Mr. Stark. What can I do for you?"

Tony is bouncing on his toes. "Phil! Where's Barton? I need him and his baby."

"You do realize that Clint is not your personal cellist, yes?"

Tony brushes past Phil and into the house. "I don't know why he isn't touring the world and making big bucks as a soloist but he's not and he's here and I really need him."

Phil agrees. Clint is good enough to be a world-class cellist but his childhood didn't allow for the early recognition of his talent and he'd missed out on most of the opportunities afforded to young musicians. Still, he's the principal cellist in the best symphony orchestra in the country. That's something to be proud of.

Before Phil can say anything, Clint wanders out in boxers and a t-shirt, looking sleepy and comfortably rumpled. He comes up behind Phil, presses a kiss to Phil's cheek, and leans against Phil's back. "Morning."

Phil reaches a hand back and runs it through Clint's hair. "Tony's here."

"Oh, hey. What's going on?"

Tony points at him. "I'm working on something and I need you and your magic bow." When Clint just looks at him, Tony snaps his fingers. "You. Bow. Now. C'mon."

Clint hums and Phil feels the vibration against his back. "Can I have breakfast first?"

"What? No. Time's a wasting here." Tony stops his pacing. "Wait. Will there be bacon? And coffee. I need coffee."

Phil sighs, visions of a lazy day with Clint disappearing in the face of Tony's eagerness. "We can do coffee. And probably bacon, too."

~*~

It's late when Clint returns. Phil's snugged into the corner of the couch watching Supernanny. Clint rests his cello case against the hall table and then collapses onto the couch next to Phil. Clint's eyes are glazed and he looks a bit muzzy. It's a good look on him but it's not one Phil often sees outside of their bedroom.

"Good day?" Phil asks, wrapping an arm around Clint's shoulders and pulling him close.

Clint leans into Phil. "What Tony's working on, it's amazing." He hums thoughtfully before saying, "It will drive you insane during rehearsals but when it all comes together? Jesus, Phil."

"It will knock my socks off?"

Clint laughs but his voice is serious when he says, "It will. It really will."

Phil sighs but decides not to worry about that yet. After all, he hasn't even seen a score. Instead, he looks at Clint and says, "You knock my socks off."

Clint looks pleased. "Aww, Phil, you say the sweetest things." Then he noses into the hollow of Phil's neck and says quietly, "Love you, too."

~*~

Rehearsals for any of Stark's new compositions truly are the times that try Phil's soul. He recognizes the trust Stark has put in him as the preferred conductor for the premiere of his work, but Stark always drives him mad during rehearsals. This piece, though, is notable not only for the Stark-free rehearsals but for the intense complexity of the music. Phil has his doubts that the orchestra will be ready in time. But in the week before the premiere, it all suddenly comes together and Phil discovers that Clint was right. This piece is nothing less than amazing. Phil has no other words to describe it.

The first movement is frenetic. Lots of brass and woodwinds, with high notes and a fast tempo. The second movement, by contrast, is almost despairing. Full of strings and a cello solo that makes the best possible use of all of Clint's talent. And just as you're about to cry from the sense of loss of hope, there's a sudden crashing of cymbals and deep thumps from the timpani. The third and final movement features the entire orchestra, coming together in a finale that is at once triumphant and hopeful.

As the last note fades, the entire orchestra is silent. Phil is torn between grinning wildly and sagging in relief, neither of which are typical reactions. He looks over at Clint, who's grinning madly, and mouths, "Socks."

Phil looks over the rest of the orchestra and finds that Clint's not the only one looking a little wild. Darcy, their new flutist, is practically bouncing. Jane is sagging against her chair, French horn clutched to her chest. Thor's fingers are still poised over his harp's strings as if ready to go another round. Steve is holding violin and bow in one hand while wiping his eyes with the other. Natasha, who generally only reveals emotion in public through her viola, looks as if she's emerged from a battlefield. Maria Hill, who also usually keeps tight control of her emotions, is staring at her oboe in disbelief. Bruce is clutching his timpani sticks so tightly, Phil can see from the front of the stage that his knuckles are white. Phil turns to look into the concert hall where he knows Nick Fury, the orchestra's manager, is sitting in the front row; he looks quite pleased.

And suddenly, someone steps out onto the stage and says quietly, "Thank you."

Phil sees Stark standing just behind the violins, for once silent and still. Phil will not say it, but this is probably Stark's best composition and it was an absolute pleasure to lead the orchestra, despite the trials of rehearsals. "No," Phil says, "thank you, Mr. Stark."

There's an awkward moment because although Phil and Tony have the utmost respect for each other, neither are inclined to speak of it, at least not to each other. Then Steve, the dutiful concertmaster, clears his throat and says, "There was no title on the score. What are you calling it, Tony?"

The answer comes simply and without explanation. "L'homme de fer."


End file.
